Getting Socapex / Socopex labels right when distributing dimmer power

By Admin April 4, 2018 April 4, 2018 728 member, Camera, lbccmvp, lighting designs, lighting director pete pearce, Lighting Facts, local 728

Soca List

Click for full labeling list

Below is an example of the first 96 rack

	Socapex Label Option A:	Socapex Label Option B:	Socapex Label Option C:	Socapex Breakout Numbers
Rack 1:	A	1	1 -6	1 -6
	B	2	7 – 12	7 – 12
	C	3	13 – 18	13 – 18
	D	4	19 – 24	19 – 24
	E	5	25 – 30	25 – 30
	F	6	31 – 36	31 – 36
	G	7	37 – 42	37 – 42
	H	8	43 – 48	43 – 48
	I	9	49 – 54	49 – 54
	J	10	55 – 60	55 – 60
	K	11	61 – 66	61 – 66
	L	12	67 – 72	67 – 72
	M	13	73 – 78	73 – 78
	N	14	79 – 84	79 – 84
	O	15	85 – 90	85 – 90
	P	16	91 – 96	91 – 96

Hollywood Lighting Partners knows good lighting and camera work matter.

By Admin December 5, 2016 December 5, 2016 728 member, Camera, crew, hollywood lighting partners set lighting designs, lighting designs, Lighting Facts, local 728, set lighting designs, show lights, show looks

When producers put the money out to make a production they expect it to look right. That is where the team at Hollywood Lighting Partners can help your show out. Our crew has the experience to get the job done. Whether it is a conventional light 3 camera sit com show or an 11 camera dance show, our team can help you get it done and sent to the editors.

We have contacts all over Hollywood and can get you the gear you need for the required look of your show.

Tungsten, HMI, film, video, 4K, moving lights, LED or UV no problem. We have experience doing fashion, live performance and many comedy’s and dramas.

Shoot an email to Hollywood Lighting Partners at lightingpartners728@gmail.com and let’s talk.

Hollywood Lighting Partners shares with Long Beach City College Radio/TV

By Admin December 5, 2016 December 5, 2016 728 member, Camera, crew, hollywood lighting partners set lighting designs, industrial control, lbccmvp, lighting designs, lighting director, lighting director pete pearce, Lighting Facts, local 728, peter pearce, peter pearce lighting designs, set lighting designs, show lights, show looks

Hollywood Lighting Partner, Pete Pearce, has been teaching lighting at Long Beach City College in the Radio/TV Department since 2001.

Hollywood Lighting Partners uses soft lights: Briese, Rifa & Gemball

By Admin June 3, 2016 June 3, 2016 728 member, Camera, crew, peter pearce, peter pearce lighting designs, set lighting designs, show lights, show looks

Hollywood Lighting Partners went nuts and used a combo of Briese Lights, Gemballs and Rifa lights for the backstage and behind the scenes shots for a model tv shoot.

“The quality of the soft lighting is awesome and compliments the beauty of the models that compete on this show. The look of the show is important to me as the executive producer knows quality lighting and her models deserve it” said gaffer and Hollywood Lighting Partners member Peter Pearce.

“It gets tricky sometimes as there are many things happening and cameras everywhere, but it’s a lot of fun and the whole team is awesome to work with. I love them and have gone to Germany 3 times to visit the TMT Lighting Team in Munich just to say hello and drink beers with them.”

Hollywood Lighting Partners shares a TV 2 way technique

By Admin June 2, 2016 June 2, 2016 Camera, crew, Lighting Facts, set lighting designs, show looks

Hollywood Lighting Partners shared with the students of the Long Beach City College television studios lighting department a technique on how to create a 2 way interview on stage.

We set a host and a guest up in 2 areas of the stage and created a split screen image on the board in the control room. The guest sits in front of a dock in Barcelona posted on a green screen behind her.

This easy effect is a way to put the news anchors and the weather girl on the same screen for viewers or also on-site sports reporters from the big game.

Hollywood Lighting Partners helps share TV with LBCC students

By Admin June 2, 2016 June 2, 2016 728 member, Camera, crew, lighting designs, show looks

Hollywood Lighting Partners had the pleasure of helping share the television process with visiting Long Beach City College students on the set of the Doctors daytime tv show.

The students came to the Paramount Studio lot and got to walk through the various positions of departments on set and behind the scenes that make it all happen. Some students even ventured up to the spotlight platform where the above photo was taken from.

It is was fun to have visitors curious about the television process visit and the production staff there was super skilled and happy to share and inspire. This is a really good example of quality crew, production and television coming together.

Hollywood Lighting Partners shares depth of field chart

By Admin June 2, 2016 June 2, 2016 728 member, Camera, crew, lighting director pete pearce, Lighting Facts, peter pearce, peter pearce lighting designs, show looks

Hollywood Lighting Partners would like to share this basic camera knowledge with you. Above is a great chart showing the viewer the relationship of lens and distance when it comes to depth of field and exposure.

As you can see the higher the number F-stop, the deeper the depth of field focus and the smaller the lens hole. This is easiest to get everything in focus but requires lighting or plenty of daylight. When the lens is at the highest numbered F-stop it is called ‘closed down’. So a cameraman could tell the director who is asking for a darker picture at the beach, “I’m closed down all the way.” In this case it may be that you need a ND 3 filter at the beach to knock the light down 1 stop further to maybe F32 and/or change exposure ASA/ISO setting.

As the f-stop number comes lower so does the depth of field focus and the lens hole gets wider. This might be needed for exposure in various lighting situations or for storytelling and viewer attention aspects.

When your lens is ‘wide open’ the f-stop number is as low as you can go. This lets the most light in the lens while shooting in the darkest of situations but is a nightmare for the focus puller who might be trying to follow a moving subject. As you dig for exposure in dark situations, changing the ASA/ISO setting may help, but also adds grain and can wash out detail to your picture.